As dance training evolves and becomes more complex, knowledge of motor behavior is foundational in helping dancers learn and master new skills and become more efficient in integrating the skills. Motor Learning and Control for Dance is the first resource to address motor learning theory from a dance perspective. Educators and students preparing to teach will learn practical ways to connect the science behind dance to pedagogy in order to prepare dancers for performance. Dancers interested in performance from the recreational to professional levels will learn ways to enhance their technical and artistic progress. In language accessible even to those with no science background, Motor Learning and Control for Dance showcases principles and practices for students, artists, and teachers. The text offers a perspective on movement education not found in traditional dance training while adding to a palette of tools and strategies for improving dance instruction and performance. Aspiring dancers and instructors will explore how to develop motor skills, how to control movement on all levels, and—most important—how motor skills are best taught and learned. The authors, noted experts on motor learning and motor control in the dance world, explore these features that appeal to students and instructors alike: • Dance-specific photos, examples, and figures illustrate how to solve common problems various dance genres. • The 16 chapters prepare dance educators to teach dancers of all ages and abilities and support the development of dance artists and students in training and performance. • An extensive bibliography of sports and dance science literature allows teachers and performers to do their own research. • A glossary with a list of key terms at the back of the book. Part I presents an overview of motor behavior, covering motor development from birth to early adulthood. It provides the essential information for teaching posture control and balance, the locomotor skills underlying a range of complex dance skills, and the ballistic skills that are difficult to teach and learn, such as grand battement and movements in street dance. Part II explores motor control and how movement is planned, initiated, and executed. Readers will learn how the nervous system organizes the coordination of movement, the effects of anxiety and states of arousal on dance performance, how to integrate the senses into movement, and how speed and accuracy interact. Part III investigates methods of motor learning for dancers of all ages. Readers will explore how to implement a variety of instructional strategies, determine the best approaches for learning dance skills, and motivate and inspire dancers. This section also discusses how various methods of practice can help or hinder dancers, strategies for improving the recall of dance skills and sequences, and how to embrace somatic practice and its contribution to understanding imagery and motor learning. Motor Learning and Control for Dance addresses many related topics that are important to the discipline, such as imagery and improvisation. This book will help performers and teachers blend science with pedagogy to meet the challenge of artistry and technique in preparing for dance performance.

Teaching Children Dance is back and better than ever. The fourth edition of this text retains everything dance educators have loved in previous editions while providing significant updates and new material. What’s New in This Edition? New material in the text—which contains learning experiences for physical education, dance, and classroom settings and is geared toward K-12 students of all ability levels—includes the following: Two new chapters that feature 32 new learning experiences for popular, fitness, and social dances, as well as for folk and cultural dances based on traditional movements and songs from around the globe Instructional videos of teaching techniques, movements, and dances from the two new chapters Online resources, accessed through HKPropel, that include PowerPoint presentations, gradable assessments, and forms that can be used as is or adapted Other new material includes suggested answers to chapter-ending reflection questions; updates to discussions on dance and the whole-child education initiative; new material on how 21st-century skills promote creative thinking, collaboration, communication, global awareness, and self-direction; and a description of the link between dance and the 2018 Physical Activity Guidelines for Americans. Dance an Inherent Component of Education “This latest edition of Teaching Children Dance brings a new perspective focused on dance as an inherent component of a child’s education,” says coauthor Susan Flynn. “Since our last edition, educational issues have refocused on students gaining knowledge and skills that can be applied to all aspects of their lives. Dance is one mode for learning that involves using the body and the senses to gather information, communicate, and demonstrate conceptual understandings.” Book Organization The text is organized into two parts, with part I’s seven chapters providing the foundation for developing dance learning experiences and offering ideas for planning a yearlong program, a unit, or a single lesson. Part II contains two chapters of creative dance learning experiences and two chapters on choreographed learning experiences. Each learning experience includes learning outcomes; ideas for the introduction and warm-up, development, and culminating dance; variations and adaptations; and assessment suggestions that are directly linked to each outcome. Fun Learning for All Ability Levels Teaching Children Dance offers dance instructors insight into designing lessons for students of all skill levels, including those with disabilities, and provides a variety of teaching strategies, assessment tools, and instruction on effective demonstrations—all to make the learning experience fun and motivating for the dancers. “We’ve developed learning experiences that encourage creativity, positive social interaction, and motor skill development,” says Flynn. “Students view dance as a way to have fun. This opens the door for dance to be a welcomed activity in the school curriculum.” Note: A code for accessing HKPropel is not included with this ebook but may be purchased separately.

Dance has the power to change the lives of young people. It is a force in shaping identity, affirming culture and exploring heritage in an increasingly borderless world. Creative and empowering pedagogies are driving curriculum development worldwide where the movement of peoples and cultures generates new challenges and possibilities for dance education in multiple contexts. In Dance Education around the World: Perspectives on Dance, Young People and Change, writers across the globe come together to reflect, comment on and share their expertise and experiences. The settings are drawn from a spectrum of countries with contributions from Europe, the Americas, the Middle East, Asia, the Pacific and Africa giving insights and fresh perspectives into contrasting ideas, philosophies and approaches to dance education from Egypt to Ghana, Brazil to Finland, Jamaica to the Netherlands, the UK, USA, Australia, New Zealand and more. This volume offers chapters and narratives on: Curriculum developments worldwide Empowering communities through dance Embodiment and creativity in dance teaching Exploring and assessing learning in dance as artistic practice Imagined futures for dance education Reflection, evaluation, analysis and documentation are key to the evolving ecology of dance education and research involving individuals, communities and nations. Dance Education around the World: Perspectives on Dance, Young People and Change provides a great resource for dance educators, practitioners and researchers, and pushes for the furtherance of dance education around the world. Charlotte Svendler Nielsen is Assistant professor and head of educational studies at the Department of Nutrition, Exercise and Sports, research group Body, Learning and Identity, University of Copenhagen, Denmark. Stephanie Burridge lectures at Lasalle College of the Arts and Singapore Management University, and is the series editor for Routledge Celebrating Dance in Asia and the Pacific.

Teaching dance is an activity that is both a rigorous discipline which involves many years of study and a deeply personal expression. Throughout the years, from the time I first encountered the Spectrum, I've realized more and more what an amazing pedagogical tool it is for dance as an art form. The Spectrum will help dance teachers address many issues, including the following: - For the beginning teacher, "Did I meet my objectives? How can I judge how well I did?" - For the advanced teacher, "How can I encourage initiative and make students more self-motivated?" - For the college or university teacher, "How do I help my colleagues in other disciplines (and administration) understand dance as an academic discipline? What do I put in my tenure and promotion portfolio?" - For teachers with adult beginner classes, "How do I introduce my adult learners to basic movement material without 'teaching down' to them, to recognize their cognitive level and maturity?" - For teachers in private studios, "How can I teach so that I reach every student, keep students coming back for more classes, and thus keep enrollment (and my business) up?" - When teaching large classes, "How can I provide feedback for every student in the class and still keep the class moving?" Whether you are facing a class of students for the first time or are an experienced teacher, whether you teach children or adults, whether in a recreational setting or college, you will find useful information here. Supported by illustrations, examples, sample lesson plans, criteria sheets, activity suggestions and discussion questions, this work is designed for use as a textbook for student teachers and a resource for the professional teacher. It includes practical tips and application suggestions, with additional material downloadable from the author's website.

Many of us are drawn to dance because we love the act of dancing. Teaching was something that came later. It is necessary to teach dance if we want to continue dancing and make a living doing it. Whether you are facing a class of students for the first time or are an experienced teacher, whether you teach children or adults, whether in a recreational setting or college, you will find this book an essential source of information. Supported by illustrations, numerous examples, sample lesson plans, activity suggestions, and discussion questions, Teaching Dance: The Spectrum of Styles is designed for use as a course textbook for student teachers and as a resource for the professional teacher. It includes practical tips and application suggestions with additional material downloadable from the website. Supported by illustrations, numerous examples, sample lesson plans, activity suggestions and discussion questions, Teaching Dance: The Spectrum of Styles is designed for use as a course textbook for student teachers and as a resource for the professional teacher. It includes practical tips and application suggestions with additional material downloadable from the website. This groundbreaking work brings the Spectrum of Teaching Styles originally developed by Muska Mosston and Sara Ashworth to the art and science of dance. The Spectrum will help dance teachers address many issues, including the following: For the beginning teacher, “Did I meet my objectives? How can I judge how well I did?” For the advanced teacher, “How can I encourage initiative and help students become more responsible and self-motivated?” “How can I continue to grow and improve as a teacher?” For the college or university teacher, “How do I help my colleagues in other disciplines and my administration understand dance as an academic discipline?” “How can I engage students cognitively and encourage critical thinking?” For teachers of children, “How can I focus on the creative possibilities of movement for each child and harness their love of discovery?” For teachers in private studios, “The students in my class are at several different levels! How can I coax the beginners and still challenge the more advanced students?” “How can I teach so that I reach every student, keep students coming back for more classes, and thus keep enrollment (and my business) up?” When teaching large classes, “How can I provide individualized feedback for every student in the class and still keep the class moving?”

This text provides primary teachers of all experience with the knowledge they need to plan and deliver age-appropriate dance lessons. It offers a scheme of 22 units of work suitable for reception to year 6, along with practical and creative ideas for teaching dance. It includes a web resource to support teaching and learning.

Dance Teaching Methods and Curriculum Design, Second Edition, presents a comprehensive model that prepares students to teach dance in school and community settings. It offers 14 dance units and many tools to help students learn to design lesson plans and units and create their own dance portfolio

This edited collection examines the potential of dance training for developing socially engaged individuals capable of forging ethical human relations for an ever-changing world and in turn frames dance as a fundamental part of human experience. This volume draws together a range of critical voices to reflect the inclusive potential of dance. The contributions offer perspectives on contemporary dance training in Britain from dance educators, scholars, practitioners and artists. Through examining the politics, values and ethics of learning dance today, this book argues for the need of a re-assessment of the evolving practices in dance training and techniques. Key questions address how the concept of ‘technique’ and associated systems of training in dance could be redefined to enable the collaboration of skills and application of ideas necessary to twenty-first-century dance. The editors present these ideas in different modes of writing. This collection of essays, conversations and manifestos offers a way to explore, debate and grasp the shifting values of contemporary dance. Examining these values in the applied field of dance reveals a complex and contrasting range of ideas, encompassing broad themes including the relationships between individuality and collectivity, rigour and creativity, and virtuosity and inclusivity. This volume points to ethical techniques as providing a way of navigating these contrasting values in dance. It serves as an invaluable resource for academics as well as practitioners and students.

In recent years, a growth in dance and wellbeing scholarship has resulted in new ways of thinking that place the body, movement, and dance in a central place with renewed significance for wellbeing. The Oxford Handbook of Dance and Wellbeing examines dance and related movement practices fromthe perspectives of neuroscience and health, community and education, and psychology and sociology to contribute towards an understanding of wellbeing, offer new insights into existing practices, and create a space where sufficient exchange is enabled. The handbook's research components includequantitative, qualitative, and arts-based research, covering diverse discourses, methodologies, and perspectives that add to the development of a complete picture of the topic. Throughout the handbook's wide-ranging chapters, the objective observations, felt experiences, and artistic explorations ofpractitioners interact with and are printed alongside academic chapters to establish an egalitarian and impactful exchange of ideas.